Rooney Mara stars as a depressed young woman whose condition seems to worsen when her husband (Channing Tatum) is released from prison. She consults a therapist (Jude Law) who prescribes an experimental drug which turns out to have deadly side effects. Thanks to the quietly intense performances (including a terrific turn by Catherine Zeta-Jones), expert pacing and the enveloping mystery, “Side Effects” will leave you spinning. Extras: featurettes.

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“Beautiful Creatures” (2013, Warner, PG-13, $28) Richard LaGravenese’s adaptation of the popular young-adult book series didn’t hit the box-office jackpot like “The Hunger Games” or “Twilight” but it’s a surprisingly rich and resonant film. Alice Englert stars as a witch — or a caster — who falls in love with a mortal (Alden Ehrenreich) on the eve of her 18th birthday, just as the forces of darkness (Emma Thompson, Emmy Rossum) and light (Jeremy Irons) are doing battle over her eternal soul. It has cool fantasy sequences, forbidden romance, slow-burn suspense and plenty of comic relief courtesy of a delightfully unhinged Thompson. Extras: featurettes.

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“Parker” (2013, Sony, R, $30) Jason Statham is nobody’s idea of a great actor but the camera loves the guy. In his best role since “The Bank Job,” he plays the title character, a professional thief who gets really angry when he’s double-crossed and left for dead by members of his own crew. He tracks the bad guys (Michael Chiklis, Clifton Collins Jr.) to Palm Beach, Florida where he finds an unlikely partner in Leslie (Jennifer Lopez), a real estate agent desperate for some quick cash. Director Taylor Hackford has full command of the pulpy material so even when the tone slides from drama to comedy and back again, “Parker” keeps you riveted. Extras: featurettes and Hackford commentary.

“The Last Stand” (2013, Lionsgate, R, $30) Arnold Schwarzenegger returns to movies with a slam-bang action thriller that despite being wholly predictable delivers plenty of killer car chases and mighty gun battles. Schwarzenegger brings a sneaky wit to the role of a small-town Arizona sheriff who is tasked with keeping a notorious fugitive (Eduardo Noriega) from crossing the border into Mexico. The supporting cast includes Forest Whitaker as an FBI agent who makes the mistake of underestimating Schwarzenegger and Johnny Knoxville as a gun-loving nut who lends the sheriff and his deputies (Jaimie Alexander, Luis Guzman) an arsenal of weapons. Extras: featurettes and deleted scenes.

“Stand Up Guys” (2013, Lionsgate, R, $28) Al Pacino, Christopher Walken and Alan Arkin are such superb actors that they manage to craft something artful and affecting out of this look at aging gangsters enjoying one last escapade. Pacino plays Val, a former thief who is released from prison after 28 years and given 24 hours of freedom before the big mob boss (Mark Margolis) wants him dead for botching a robbery decades earlier. Cue a night filled with call girls, joy rides and the occasional smackdown or two. If nothing else, “Stand Up Guys” is worth seeing to witness how easily Pacino, Walken and Arkin elevate mediocre material with their skill and charisma. Extras: commentary by director Fisher Stevens, deleted scenes and featurettes.

“The Oranges” (2013, Fox, R, $23) Set in West Orange, N.J., this briskly paced dramedy looks at what happens when an unhappily married ad exec (Hugh Laurie) sleeps with the twentysomething daughter (Leighton Meester) of his best friend (Oliver Platt). As the wives of Laurie and Platt, Catherine Keener and Allison Janney deliver darkly funny turns. But the efforts of the filmmakers to put a positive spin on infidelity and family dysfunction come across as forced and bizarre. Director Julian Farino starts out with a premise worthy of “The Ice Storm” and winds up with a movie that occasionally resembles an episode of “Parenthood.” Extras: featurettes.

“A Common Man” (2012, Anchor Bay, PG-13, $28) Ben Kingsley stars as a Sri Lankan man who methodically plants five bombs which he then threatens to detonate unless a handful of terrorists are released from government prisons. After a tense beginning, the film loses all of its momentum as writer/director Chandran Rutnam settles for cutting back and forth between Kingsley and the official (Ben Cross) in charge of the negotiations. Kingsley delivers a quietly intense performance but he can’t save a preachy movie that, in the end, fails to connect the dots in a satisfying way. Extras: none.

“Jubal” (1956, Criterion, unrated, $30) Delmer Daves’ psychodrama on the range is among the most gorgeously-photographed westerns in Hollywood history. Loosely based on “Othello,” the action centers on a cowhand (Glenn Ford) who walks into a volatile situation when the wife (Valerie French) of his boss (Ernest Borgnine) takes a shine to him. Even though Ford doesn’t return her favors, a shifty cowboy (Rod Steiger) convinces Borgnine that there’s some hanky-panky going on. “Jubal” will get to you. Extras: none.

“Ultimate Gangsters Collection: Classics” (1931-1949, Warner, unrated, $50) In this stunning Blu-ray box, James Cagney radiates a jumpy, nervy energy in “The Public Enemy” (1931), a crime thriller so hard-boiled that you won’t even blink when he smashes a grapefruit in Mae Clarke’s kisser. Cagney is even better in “White Heat” (1949), which boasts the still-thrilling “Top of the world” finale. Rounding out the set is “Little Caesar” (1931) featuring a brutal breakthrough turn by Edward G. Robinson, and “The Petrified Forest” (1936), a hostage drama with Humphrey Bogart cutting to the bone as fugitive Duke Mantee. Extras: featurettes and doc about the golden age of gangster films.

“True Blood: The Complete Fifth Season” (2012, HBO, unrated, $60) It’s another action-packed season for the Bon Temps gang, especially now that Tara (Rutina Wesley) has been turned into a vampire, and there’s new werewolves on the prowl. Bill (Stephen Moyer) and Eric (Alexander Skarsgard) team up to search for Russell (Denis O’Hare) while the busy Sookie (Anna Paquin) discovers some important clues about her parents’ mysterious deaths, learns how to control her unpredictable faerie powers, and helps saves the day in a finale that’s one heckuva nasty bloodbath. Extras: featurettes and five commentaries.

“Perception: The Complete First Season” (2012, Buena Vista, unrated, $30) Take a dash of “The Mentalist,” a dab of “Lie to Me” and blend together with a pinch of “Numbers” and you have this police procedural about Dr. Daniel Pierce (Eric McCormack), an eccentric neuroscientist who helps the FBI solve complex crimes. In addition to being visited by people that no one else can see, Pierce has a knack for knowing when suspects are lying. Sure, Pierce’s talents are a little far-fetched but, to the show’s credit, the crimes are entertainingly intricate and fun to solve. Extras: none.

“Loophole” (1954, Warner Archive, unrated, $25) This ‘50s noir boasts a mildly involving plot about a bankteller (Barry Sullivan) framed for a robbery he didn’t commit. Hounded first by the police and then by the bank’s insurance investigator (Charles McGraw), Sullivan has to find the real perps in order to clear his name. The set-up is handled so matter-of-factly and with so little style that its not until the finale when guns are drawn and muscles are flexed that the film finally begins to pop. Extras: none.

“The Great Gatsby: Midnight In Manhattan” (2000, BBC, unrated, $15) If you’ve seen the “The Great Gatsby” with Leonardo DiCaprio, and are curious about how F. Scott Fitzgerald came to create the novel that’s widely considered one of the best of the 20th century, check out this fascinating documentary that explores the author’s dark and turbulent life. The best segments chronicle Fitzgerald’s love affair with flamboyant wife Zelda Sayre, the primary influence on Daisy Buchanan, “Gatsby’s” reckless heroine. Extras: a play about the Fitzgeralds.

“Laverne & Shirley: The Sixth Season” (1980, Paramount, unrated, $40) During the sixth season, the brewery-working Laverne (Penny Marshall) and Shirley (Cindy Williams) leave Milwaukee behind for Southern California. Unfortunately, the new characters (Leslie Easterbrook, Ed Marinaro) are bland and the situations are less “Laverne & Shirley” and more “I Love Lucy.” Still, there’s some laughs, especially when the gals come up with a scheme to retrieve a letter from their boss’ locked office in the classic “Bardwell Caper” episode. Extras: gag reel.

Amy Longsdorf is a freelance entertainment writer. Her DVD reviews appear Sunday in The Mercury.